Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Sounds Like Silence. John Cage – 4’33″ – Silence Today

There have been countless celebrations of the centennial of John Cage’s birth around the world, involving different generations fascinated by one of the few truly visionary artists. Needless to say, “silence”, probably the most revolutionary element in Cage’s extensive work, has been at the centre of the majority of thoseevents, which transformed into a sort of global happening (probably something Cage would have been happy about). The Hartware MedienKunstVerein in Dortmund focused a whole series of events entitled “Sounds Like Silence”, structuring them into a consistent program. It started with a radio show organized by the two curators (Arns and Daniels), which was followed by performances, roundtables, excursions, lectures and a proper exhibition. The radio show has become a Gruenrekorder CD release and an oversized book has been released, becoming one of the best outcomes of the celebrations. It’s a terrific research project involving plenty of original documents, multiple perspectives, creative derivatives, interpretations and very inspired original works, plus a final section cataloguing the exhibition. It literally “fills the silence”, which forms part of the sophisticated ambiguity of the title. The huge “collateral” material included in the book defines Cage’s work thoroughly, but curiously applies the very same spirit of Cage himself, distracting from what is under the spotlight (his person and his core work) and starting to focus attention on what is happening now, in a recursive and elegantly informed style.